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Kingdom: Plantae
(unranked): Angiosperms
(unranked): Eudicots
(unranked): Asterids
Order: Gentianales
Family: Apocynaceae
Subfamily: Asclepiadoideae
Genus: Araujia
Species: A. sericifera
Planta trepadora, liana, ramas flexibles que contienen una savia lechosa, pegajosa, corrosiva y tóxica; se enrosca sobre el soporte o tutor pudiendo llegar a destruirlo.
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El problema de Geltier.
Por ejemplo, Isaac Newton sabe que en frente de él hay una manzana si y sólo si:
Newton cree que frente a él hay una manzana.
Es verdad que frente a él hay una manzana.
Newton está justificado en su creencia de que frente a él hay una manzana.
Sin embargo, en 1963, Edmund Gettier publicó un artículo de tres páginas titulado ¿Es el conocimiento creencia verdadera justificada?, en el que argumentó que la definición clásica no es suficiente. Gettier mostró que hay casos en los que una creencia verdadera justificada puede fallar en ser conocimiento. Es decir, hay casos en los que los tres requisitos se cumplen, y sin embargo intuitivamente nos parece que no hay conocimiento.
Retomando el ejemplo anterior, podría ser que Newton crea que frente a él hay una manzana y esté justificado en ello (por ejemplo, porque la está mirando), pero ¿y si la manzana fuera de cera?
En ese caso, según la definición clásica, Newton no posee conocimiento, porque falta que sea verdad que frente a él haya una manzana.
Exp. May 26, 2007 #385
Capoeira is an Afro-Brazilian art form that ritualized movement from martial arts, games, and dance. Participants form a roda or circle and take turns either playing musical instruments (such as the Berimbau), singing, or ritually sparring in pairs in the center of the circle. The game is marked by fluid acrobatic play, feints, and extensive use of sweeps, kicks, and headbutts. Less frequently used techniques include elbow-strikes, slaps, punches, and body throws. Its origins and purpose are a matter of debate, with the spectrum of argument ranging from views of Capoeira as a uniquely Brazilian folk dance with improvised fighting movements to claims that it is a battle-ready fighting form directly descended from ancient African techniques.
Status in Brazil
For some time Capoeira was prohibited in Brazil. In 1890, Brazilian president Deodoro da Fonseca signed an act that prohibited the practice of Capoeira nationwide, with severe punishment for those caught. It was nevertheless practiced by the poorer population on public holidays, during work-free hours, and on other similar occasions. Riots, caused also by police interference, were common[citation needed].
In spite of the ban, Mestre Bimba (Manuel dos Reis Machado) created a new style, the "Capoeira Regional" (as opposed to the traditional "Capoeira Angola" of Mestre Pastinha). Mestre Bimba was finally successful in convincing the authorities of the cultural value of Capoeira, thus ending the official ban in the 1930s. Mestre Bimba founded the first capoeira school in 1932, the Academia-escola de Capoeira Regional, at the Engenho de Brotas in Salvador-Bahia. He was then considered "the father of modern capoeira". In 1937, he earned the state board of education certificate. In 1942, Mestre Bimba opened his second school at the Terreiro de Jesus - rua das Laranjeiras. The school is still open today and supervised by his pupil, known as "Vermelho
Descendant of African slaves in Brazil fighting styles and those who believe it is a uniquely Brazilian dance form distilled from various African and Brazilian influences. The best working theory is that it's an African fighting style that was developed in Brazil. This theory is proven by a wise mestre named Salvano who once said "Capoeira cannot exist without black men".
Even the etymology of "Capoeira" is debated. The Portuguese word capão means "capon," or a castrated rooster, and could mean that the style appears similar to two roosters fighting. Kongo scholar K. Kia Bunseki Fu-Kiau also suggested "capoeira" could be derived from the Kikongo word kipura, which describes a rooster's movements in a fight.[citation needed]Afro-Brazilian scholar Carlos Eugenio has suggested that the sport took its name from a large round basket called a "capa" commonly worn on the head by urban slaves.[citation needed] Others claim the term derives from the Tupi-Guarani words kaá (leaf, plant) and puéra (past aspect marker), meaning "formerly a forest." Or, given that "capoeira" in Portuguese means literally "chicken coop", it could simply be a derisive term used by slave owners to refer to the displays as chicken fights.
Secret martial arts training
Some proponents believe that Capoeira was first created and developed by slaves brought to Brazil from Angola, the Congo, the Gulf of Guinea and the Gold Coast, who used it as a way to practice their martial arts moves while making it appear to be a game or dance. Since the slave-masters forbade any kind of martial art, it was cloaked in the guise of an innocent-looking recreational dance. Others believe that Capoeira was practiced and used to fend off attacks by Portuguese slavers in Palmares, Brazil's most famous Quilombo maroon colony of escaped slaves.
Afro-Brazilian art form
There is no written historical evidence to support the notion that Capoeira is a battle-ready fighting form, and many other proponents see it as a folk dance form developed by African slaves from traditional African dances and rituals. While there is not much historical evidence about Capoeira in general, there is other information that supports this view. In his 1835 work "Voyage Pittoresque dans le Brésil" ("Picturesque Voyage to Brazil") ethnographic artist Johann Moritz Rugendas depicted "Capoeira or the Dance of War," lending historical credence to the idea that Capoeira originated as a dance, rather than a fighting form.
Outside Brazil
Capoeira is growing worldwide. There have been comparisons drawn between the Afro-North American art form of the blues and capoeira. Both were practiced and developed by African-American slaves, both retained distinctive African aesthetics and cultural qualities; both were shunned and looked-down upon by the larger Brazilian and North American societies within which they developed, and both fostered a deep sense of Afrocentric pride especially amongst poorer and darker-skinned Blacks. In the mid-1970s when masters of the art form -- mestre capoeiristas, began to emigrate and teach capoeira in the United States, it was still primarily practiced among the poorest and blackest of Brazilians. With its immigration to the U.S., however, much of the stigma with which it was historically associated in Brazil was shed. Today there are many capoeira schools all over the world (capoeira is gaining ground in Japan) and throughout the United States, and with its growing popularity in the U.S. it has attracted a broad spectrum of multicultural, multiracial students. Capoeira has gained popularity among non-Brazilian and non-African practitioners for the fluidity of its movements.
I am in the process of transferring files to the new back up NAS server and I found this image. It has always been of my favorites and somehow in the shuffle I lost sight of it.
This image is from my first go-around as a "Hollywood" photographer. I just finished building a new studio and I'm gearing up for my second go-around.
One of the things I would do during a photo shoot was to take pictures that "grabbed" me, they didn;t hav eto have anything to do with the task at hand they were just pretty. I would catch some sh*t from time to time because I was being paid to just shoot headshots. SO to counter that argument I stopped putting a number on the amount of rolls came with the shoot.
Everyone was three rolls six "looks" for X dollars. I became 1 actor a day no roll count all day. That caused three things to occur, no presure to get it right in three rolls and I became a better photographer because of granting myself recless abandon, and third it stopped people complaining about me shooting these types of shots.
This image was captured with a Nikon F5 camera with a 70-210mm D-series lens. Film was Ilford HP5 rated at 200iso. Film was scanned using an Epson V750 scanner and Silverfast scanning software. Post processing was done in Photoshop.
© Vincent Versace 2014
Please join my Welcome to Oz Group on Flickr!! Just click the link below
There's an old paradox - who came first an egg or a chicken. These days they say that Darvin's theory of evolution is wrong However , according to the current knowledge and technology we can easily renew the paradox - who came first the cyborg or the monkey-:)
This day, the two tigers of the zoo of Zürich were in a bad mood. I just could photograph them when they had an argument, Coto on the left and Nurejev his father on the right. I couldn't frame them really good, it went so fast, but the picture is still rather good!
Made it in Explore, #450, July 25th, 2009.
On County Highway M50 south of Highway 3 in northwest Iowa. Couldn't get a really good angle because the house was guarded by 8 overly friendly sheep (pic to come).
Texture by Skeletalmess (of course). Pretty cool on black. HSS!
"Pride leads to argument; be humble, take advice and become wise."
Proverbs 13:10
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below from: www.brainyquote.com/quotes/authors/a/albert_camus.html
are a few quotes from Albert Camus, French Philosopher
Born November 7, 1913: January 4, 1960 Died
What the world requires of the Christians is that they should continue to be Christians.
When you have really exhausted an experience you always reverence and love it.
Without culture, and the relative freedom it implies, society, even when perfect, is but a jungle. This is why any authentic creation is a gift to the future.
EXPLORE # 278 on Wednesday, May 28, 2008; # 286, on 05-27-2008
Visdief (Sterna hirundo) / Common Tern
Canon 7D Mark II / Sigma 150-600mm F5-6.3 Sports
Deze visdiefjes waren het niet helemaal met elkaar eens. Geen idee waar het over ging, maar het zag er wel indrukwekkend uit...
Slingelandse plassen, Goudriaan.
Press "L" to view large,
press "F" to make my day!
I am sitting at a campfire with friends... my mind wanders... someone asks me to tell a story... and i start to tell this one:
'Heather was still walking along the surf. She'd had a row with her husband of five years... again. Now she had been walking these endless beaches for hours and the sun was setting. There were less and less people to be seen, as the the few that she saw were packing their stuff just now to return home from a day on the beach.
Her hubby could be such a pest sometimes. Half the day he had tried to talk her out of her one piece swimsuit into a bikini, that was merely three tiny patches of fabric kept together with a length of string. And when she finally gave in and put it on, he pushed her to walk around and show herself off at the quite crowded beach. Before their argument could be noticed by all the people around, Heather had finally stood up from their blanket and wandered off towards the sea. Hubby had for sure worn a big smile, thinking that she'd finally do what he wanted her to, but when she'd continued to walk away, he probably fumed with anger.
That had been early afternoon. She was a lot of miles away from the spot of beach by now, and it was getting dark. With the sun setting, the cool breeze from the sea made Heather shiver. Eventually, Heather started to realize the situation she was in. She had no money, her smartphone was among the things that she left with her husband.... and above this, she was as good as naked. She should have panicked now. But the last embers of her anger, that went to heat up again into flames as she blamed her hubby for her current situation, gave her enough courage to approach a group of young people who were setting up a warming fire at a secluded spot of beach, that would have been a little paradise if she had seen it in bright daylight.
She counted five boys and a girl, all in their early twenties, who were laughing and drinking around the fire that was just starting to blaze up. With a bright smile she said "Hi... may i warm myself up a bit at your campfire?" Two of the guys immediately got up to offer her a seat on a blanket, but the girl who was leaning against a log of dead wood, nestled into a warming blanket, waved for Heather to come over. Not sure how to behave, Heather slowly approached her, as the blonde girl spread her arms, opening the blanket to offer to Heather to creep in with her. "Come here. You freeze to death if you stay in the cold wind, even with the fire. How long have you been walking around like this?" In the flickering firelight, she noticed that the girl was naked, but the prospect of being warmed up, snuggled into the blanket enjoying the warmth of the other girl's naked body against her icy skin, was too alluring to hesitate. She just sat between the girls legs, leaning her back against a soft tummy and firm breasts as the blanket was pulled closed over her shivering body with two wrists now being pressed into her own soft mounds. As Heather continued shivering, the girl whispered to the guy on her right to bring a drink. "Hush, baby... we'll get you warm again in no time. Can't have you getting a pneumonia...".
Heather was served a strong smelling liquid from a coffee mug and started to cough as the sharp alcoholic drink was poured into her mouth. But if she didn't want the drink to just flow over her face and soak the blanket, she had to swallow, as the guy didn't stop pouring before the mug was empty. "Shh...", she heard the girl whispering into her ear, "just close your eyes a moment until you stop shivering."
Heather closed her eyes, calming down... the shiver subsided, until she shuddered just occasionally. She started to feel good as her skin started to heat up beneath the blanket, almost burning where it was in close touch with the other girl's skin. "Shh..." the girl whispered again as Heather gave a start, when she felt the ties of her suit being opened and her tiny top and bottom being removed, "just relax...". Almost in a daze Heather
obeyed and snuggled her own completely naked body into the other girl again. She enjoyed, when two soft hands started to knead her soft breasts and bit her lip when slender fingers started to circle her engorged nipples. She turned her head to the side, as she felt the girls lips brushing her cheek, until she was able to receive a kiss on her lips. Heather didn't think, she just felt. She felt a burning all over her body, a tingling sensation in her mind, electric currents running wild under her skin. She didn't notice, that the blanket had been opened wide, so she was completely exposed to the view of five young men. The girl was french kissing Heather passionately, while playing with Heather's hard nipples and soft breasts. Smartphone cameras were recording every reaction of her heated body and flushed face. Stronger, larger hands were resting now on her thighs, others were massaging her sore feet.... Heather was melting, a bundle of overheated senses, a spirit of passion...
Whatever might have happened that night... it had not been in Heather's hands to stop anything of it. She never told her husband. She sometimes tried to search her memories, but didn't find any clues... Her hubby did search the internet, instead... and he did find... but he never did talk to her about it.'
Opening my eyes, i finish my story... looking around... they would have liked to hear more... but they know me... when i think my story is over, they will not get anything more out of me, even if they beg *smiles a broad smile*
I had captions on this and then decided to let my creative flickr friends add their own..have fun!
If you are stuck, see that last pic posted for some ideas LOL
Two Hippopotamus (Hippopotamus amphibicus) have a disagreement in a Mikumi National Park pool. Image taken in Tanzania
If you would like to see some of my friends, please click "here"
The White Park is a rare breed of horned cattle with ancient herds preserved in Great Britain. It includes two very rare types often regarded as distinct, the Chillingham and the Vaynol cattle. The White Park is a medium-large, long-bodied bovine. A programme of linear assessment, including 200 bulls and 300 cows, has been carried out in the UK since 1994 to define its size and conformation. Mature bull weights vary from 800 to 1,000 kilograms, depending on the quality of grazing, but bulls in good condition may weigh 1,250 kilograms. Average withers height is 146 centimetres, chest depth 88 centimetres, body length (point of withers to point of pin bone (tuber ischii) 167 centimetres, hip (tuber coxae) width 64 centimetres, and scrotal circumference 45 centimetres. The relevant corresponding measurements for adult cows are 500 to 700 kilograms, 132 centimetres, 76 centimetres, 148 centimetres and 60 centimetres. The colour is distinctive, being porcelain white with coloured (black or red) points, namely ears, nose, eye rims, hooves, and teats and tips of the long horns. The colour pattern is dominant to other colours. The horns of the cows vary in shape, but the majority grow forwards and upwards in a graceful curve. The horns of bulls are thicker and shorter, and not so uplifted. In their native environment in Britain, White Park cattle are noted not only for their distinctive appearance, but also for their grazing behaviour, where they show a preference for coarser herbage. They are well-suited to non-intensive production and some herds are kept outside throughout the year on rough upland grazing without shelter or supplementary feed. They are docile, easy-calving, and have a long productive life. Some traits may vary a little in other countries, but the basic type is the same. They are beef animals noted for the quality of their meat.They are capable of converting coarse herbage into high quality meat, and of gaining weight at over 1 kg per day in good conditions. Until relatively recently they were a triple-purpose breed – meat, milk and draught. The 3rd Lord Dynevor (1765–1852) kept a team of draught oxen, and the practice continued up to 1914. The records of one plough ox that was killed in 1871 at 14 years of age, show that he stood 183 centimetres at the withers and weighed 1,171 kilograms. They were used as dairy cattle even more recently. Some cows were being milked in the Dynevor herd in 1951, but yields were moderate. Beef became the main product during the twentieth century, and gained a reputation as a textured meat, with excellent flavour and marbling, which commanded a significant premium in speciality markets. The best quality beef comes from 36-month-old animals, and fine marbling is the key to its eating quality, while the low cholesterol content adds to its attraction for the health-conscious consumers. Several blood typing and DNA studies have revealed the genetic distinctness of White Park cattle and the Oklahoma State University web site confirms the White Park is not closely related to two breeds of the same colour, but which are hornless, namely the American White Park (which actually is British White) and the British White and is genetically distinct from them. The colour-pointed coat pattern also appears in other cattle breeds such as the Irish Moiled, the Blanco Orejinegro, the Berrenda, the Nguni and the Texas Longhorn. The breeds most closely related seem to be the Highland cattle and Galloway cattle of Scotland, but the White Park "is genetically far distant from all British breeds". The Chillingham has diverged from the main White Park population and various stories have grown up around them. Hemming references the work of Hall in the following excerpt: "- – In other words, since the Chillingham cattle, wherever they came from, cannot be aurochsen, they must be Bos taurus just like Jerseys or Herefords or any other breed. They do look more like miniature aurochsen, but that is because they have not been selectively bred for beef or milk, and cattle that have been left to their own devices will tend to revert to ancestral type. Although both the late president and the patron have quoted genetic work done on the cattle to support their arguments, the zoological reports in fact make it quite clear that the Chillingham herd does not have any special relationship to the aurochs whatsoever (Hall 1982-3, 96; 1991, 540)."
From Wikipedia, the free encyclopedia
Photograph 36 of 40 for my short time-lapse film “Man and the Mountain - A Dolomiti Tale” due for release February 23rd 2019.
Just only 11 days left until the release!
One of several churches in Val di Funes, North Italy, unbelievably this one is the lesser frequented out of the two in the small village of Santa Maddalena. Nominally because it’s a short 10 minute walk from the nearest public car park. Shocked but happy that literally a 10 minute walk filters out 90% of photographers.
Much to the frustration of the locals, this doesn’t stop people driving up the private road to this location instead of taking the short stroll.
We saw a few arguments when fellow photographers ignored the signs which stand prominently in German, Italian and English stating that the road is private access only. Maybe one in Mandarin wouldn’t be a waste though.
The largest mountain above the church is called Sass Rigais in Puez Odle National Park and one that I summited during my time there. The church looks absolutely tiny view from up there.
Location: Santa Maddalena, Italian Dolomites
Shutter Speed: 2s - 1/20s
ISO: 100
Aperture: F/7.1
Frames: 744
Intervals: 3s
For the Anniversary of My Death
Every year without knowing it I have passed the day
When the last fires will wave to me
And the silence will set out
Tireless traveller
Like the beam of a lightless star
Then I will no longer
Find myself in life as in a strange garment
Surprised at the earth
And the love of one woman
And the shamelessness of men
As today writing after three days of rain
Hearing the wren sing and the falling cease
And bowing not knowing to what
— W. S. Merwin
On the Last Day of the World
On the last day of the world I would want to plant a tree
~W. S. Merwin
On the last day of the world, I would want
to feed you. Raspberries. Thin slices of apple.
Peaches so ripe they drip down our chins,
down our necks. I would want to sit with you
beneath a tree, no we’ll climb a tree, no
we’ll plant a tree, yes all of these. On the last
day of the world, I want to give myself permission
to feel exactly what I feel, to be exactly who I am,
to shed every layer of should and meet you
that way. Knowing we have only hours left,
could we put down our arguments with ourselves
and each other and find no energy to pick them up again?
On that day, I want us to write the last poem
together and let the writing undo us, let it teach us
how to get out of the way, how to obey what emerges.
Let’s run outside, no matter the weather, and praise
the light till the light is gone, and then praise the dark.
— Rosemerry Wahtola Trommer
Black on Black
My grandmother loved me with a thick accent
spoke to me Yemeni words
I never understood,
and as a child
I remember
how scared I was to stay alone with her
out of fear that I wouldn’t understand the tongue in her mouth
which she kept singing to me with a smile.
I didn’t understand
a single word she said
the sounds far, far away
even when she spoke closely.
Once
I remember,
she bought me a pineapple yogurt
and after I punched a hole with my thumb
in the thin aluminum lid
and drank it all,
I wanted to say thank you
but didn’t know
which language to use,
so I went to the big garden
plucked a flower
and handed it to her,
sheepishly.
I remember
how much awkwardness stood between us
of one blood
and two muted tongues.
She washed the yogurt cup
silently
filled it with water
and placed the flower in it.
I never understood
a word she said,
my grandmother,
but I understood her hands
I understood her flesh
even though she never
really understood
the words I said
and simply loved my little body
the daughter of her daughter.
And sometimes the heart asks
strange things for itself
like to learn Yemeni
and return to her grave
lay lips to the earth
and cry into it
all that that little girl had to say
and mainly to warn her
that the flower I’d given her
was full of ants.
— Adi Keisser
Translated from Hebrew by Ayelet Tsabari
So I decided to hop on the bandwagon and do one of these.
2017 was a... decent year for me personally. I left 8th grade(which was definitely one of the best parts), started high school(whether or not that's a good thing is debatable), and saw a bunch of cool stuff on Flickr.
Oh yeah.
I also joined Flickr.
That happened.
I made basically zero new friends in high school but I still have the good old gang with whom I have heated arguments nearly every day at lunch, so that's pretty cool. Online I made quite a few new friends though(mostly because I made a Flickr account).
This was also a decent year for movies... well, for the most part(I guess some of them were only MEH). There were a ton of supposedly good movies which I haven't seen, as well as stuff I DID see, like Wonder Woman, Guardians of the Galaxy Volume 2, The Lego Batman Movie, and Star Wars The Last Jedi(pls dont kill me). But there was also some stuff which goes to show that Hollywood is capitalizing off of stereotypes and insert rant about the Emoji Movie here.
Anyways, thanks to all you fellow nerds and losers on this dying social media platform for making this year better for me. I'm not gonna go into politics because then I'll connect that to politics from earlier years and realize what this world is coming down to and I'll eventually commit suicide, and I feel I have a lot to live for so I'm NOT gonna do that.
On a side note, Happy Belated birthday to Frank, my LEGO rancor, who turned 4 years old yesterday at 9:00 pm! Happy Birthday, Frank, and sorry I'm not home right now with you. I'm sure you'll have fun with giant LEGO grievous and Vader as well as Krennic's shuttle and Lloyd's dragon, I know how much you love your cramped space in that box.
also thanks for the 200 followers
bye or something
This pair of Northern Mockingbirds was sitting on top of my compost bin, hopping around and fussing about something. I don't know if it was a heated argument or an animated discussion, but whatever it was lasted several minutes before they decided to fly their separate ways.
It was a quiet Sunday morning on River Street, Savannah, Georgia, until this couple began arguing on the streets. I'm guessing the older couple above were glad to be "above it all".
The day I learned the most was the day I placed the same importance I place on what I know, on what I may not know. My beliefs became feasible possibilities, arguments became discussions and every moment a moment for something and everything to change. I realized, to not do so would to be giving myself to much credit and life not enough. 5:45 am Andaman Islands, India.
One convincing argument / to shop your bicycles here / is that the owner is named "Pascal Onthewheel."
Eén goed argument / om hier een rijwiel te kopen / is de naam van de eigenaar / Pascal Aandewiel
No argument as to who has the right of way during this encounter.
I remember the sense of awe I had when I visited Yellowstone for the first time and had my first encounter with a bison on the road. Magnify that feeling by a factor of ten and you will be able to sense the more intense emotions you have when you encounter an African elephant coming down the road towards you.
Various emotions/feelings pass through your body. Excitement as to being so close to one in the wild, a sense of appreciation for their beauty and grace, and apprehension when you realize that they could flip and/or crush your multi-ton vehicle without breaking a sweat.
its function is to make the worse appear the better :-) George Santayana.
little theatre rose garden, raleigh, north carolina.
Explorific!
Note: EVF / Mirrorless cameras have thoroughly obsoleted the rangefinder as a camera paradigm. But they are also on the verge of sending the DSLR to extinction, I think. Please see some thoughts on this at this link.
Exactly two years ago, in April 2011, I said goodbye to my Leica M9 in anticipation of an inevitable "M10". During that time, I used a Sony NEX-5, then an NEX-5N quite effectively as a digital back for my M lenses.
I finally got my hands on the new 24MP M Typ 240, after a long wait. I had a chance to take 20 pictures, before I had to send the camera back to Germany, after Leica issued a factory recall. In a rare faux pas, Leica discovered the strap lugs on the new M came off! So they had to find a fix.
So in the short time I had the camera, here are my first impressions.
The best M camera ever
Undoubtedly, this is the best M camera Leica has ever made. It feels like an M, the finish is great, and it is beautiful to see, touch and feel. Emotionally, very satisfying. The classic preview lever is gone and ergonomically, it could have been a little better. But overall, the best M camera ever.
Big camera / Small lens vs. Small camera vs. Big lens
After being used to a Sony NEX for two years, the M feels big and heavy. I have been waiting eagerly for a compact Sony NEX-9 in the E-mount with a full-frame sensor, but I recently found out that such a camera will not work with M-mount lenses from Leica, Zeiss or Voigtlander.
The Leica M cameras have a micro lens array that is needed to make the M lenses work with a full-frame sensor, and no other manufacturer will have this in their camera. So unfortunately, a full-frame mirrorless EVF camera from anyone not named Leica will simply not work with Leica M lenses of focal length 50mm or shorter. A huge bummer!
That means if there is an NEX-9 or similar camera, that would have to be used with traditional SLR / DSLR lenses, such as the Leica-R, Zeiss, Nikon, Canon, etc. However, the NEX-9 will be much more compact than the Leica M. So it leads to a peculiar paradigm - the relatively big M body with the tiny M lenses vs. the small NEX with the big SLR lenses.
Pictured above for comparison: the Leica M240 + Leica 50mm f/1.4 Sumilux-M shown next to a Sony NEX-5N + Leica 50mm f/1.4 Summilux-R.
The NEX + the bigger lens is still less bulky and weighs less compared to the M240 + the M lens. The M240 wins if I have to carry a camera + 3 or more M lenses. But the NEX wins for camera + 1 or 2 SLR lenses.
I am done with the RF as a camera paradigm
I used to be very good focusing with the rangefinder in my old M9. But after two years of using a Sony NEX with manual focusing lenses, I am through with the rangefinder. Done, finished, no more RF.
The more the resolution, the harder it is to accurately focus using the RF. Higher resolution ruthlessly exposes poor focusing. The vast majority of the M8 and M9 pictures uploaded on flickr today are poorly focused by proud owners of a Leica M camera who don't know what they're doing.
Although the RF in the M240 is probably the best RF Leica has ever made, unless you own bionic eyes or have a subject matter with a lot of nice, high-contrast vertical lines at the dead center of the frame, it is tough to focus with the RF. Over time, the RF coupling will also inevitably drift.
So with higher image resolution, the RF is increasingly a liability, and it is time to retire it. But a lot of people love the RF.
In my case, I have two reasons for putting the RF out of my life:
First, I am now too used to the paradigm of compose-first-focus-next. That is what the Sony NEX with its focus peaking does brilliantly. I cannot do that with a RF, which only focuses in a small region in the center of the frame. I find that extremely restricting.
Second, after my cataract surgery, although my vision has dramatically improved, I find it difficult to use a rangefinder with my glasses on. I have no problem with manual focusing using either a DSLR or an EVF/mirrorless.
So I am through with the rangefinder as a camera paradigm. Of course, I could use an EVF with the M240. But I am needlessly paying for the expensive RF mechanism, and the EVF is an expensive option I should not have to pay for!
Also, the EVF on the M 240 sucks. More detail below.
Image quality
So is it worth it, for all the cost and aggravation? Hard to say. Focused accurately and at relatively low ISOs (800 or below), and in good daylight, the M240 delivers excellent IQ, with superlative colors, sharpness, micro contrast and dynamic range. And two very smart people have independently told me the M240 images are excellent for making large prints.
In addition, Lloyd Chambers, one of the best, if not the best, independent photography bloggers (subscription highly recommended!) has taken some stunning images with this camera that show exceptional details. In fair weather, this is a fantastic camera.
BUT...
And that is the part I don't like - an $8,450 camera (see below why it is $8,450) should not come with "Buts". And the M240 comes with many Buts.
But #1: Mediocre high-ISO performance. Even though the M240 has a CMOS sensor, high ISO performance of this sensor, made by CMOSIS, is not as good as the industry-leading sensors from Sony that you can see in other cameras. I would like to see what DXO comparisons look like.
But #2: Terrible EVF/focus peaking. The EVF + focus peaking on the M240 is a very amateurish implementation that is way behind the Sony NEX. Even with the EVF on the M240, I could not match how quickly and how accurately I can focus with my Sony NEX.
Seriously, I am 2-4 times faster focusing with my Sony NEX than I am with the M240's EVF. If the camera is already on, it takes me about 4-5 seconds to compose, accurately focus and click with my Sony NEX. With the M240, it takes me anywhere from 10-20 seconds, and sometimes, longer. And even after that, I could not get the best focus in quite a few shots with the M240. With the NEX, I nail the focus almost every time without fail.
Also, the focus peaking disappears just as you start pressing the shutter release button to take the picture. That is absolutely idiotic! It is a distraction that is enough to cause an imperceptible camera shake, and loss of the best focus. The only way to avoid that is to be well supported (e.g., leaning against a wall). That is not always practical, so a lot of pictures will come out sub-optimally focused. Bad, bad implementation by Leica.
Perhaps Leica could improve its EVF and focus-peaking usability in a future firmware upgrade.
But #3: Loss of hot shoe. The EVF takes away the flash hot shoe. That means, I can't use flash photography at all. So I spend $8,450 for a camera and I can't use a flash with it?!
But #4: Bulk and weight. The M240 is much heavier than cameras like the NEX-7 or 5N, which are made of durable, Magnesium-alloy bodies. An M240 + grip + EVF is almost as big as a Nikon D800E, which costs $2700, delivers 36MP and has autofocus. For the M240 to match the image quality with subjects that are close will probably require a tripod. If I'm going to be lugging around a tripod, then why bother with an M240 at all? Why not my Nikon D800E?
But #5: Poor Live View. The Live View works only at the center of the frame. You can not zoom into any other part of the frame. That is so silly! Evey a $500 NEX-3 lets you see any corner of the frame at a 10x magnification in Live View.
But #6: Lens design compromises. As cute the M lenses are, their compact size and extreme proximity to the sensor in M cameras has meant making design compromises. And typically, this has hurt in two areas: focus shift and field curvature.
A lot of Leica M lenses show focus shift, including the $7,200 new 50mm APO Summicron-M, as Lloyd Chambers has demonstrated. A $7,200 lens should not have a focus shift problem, for crying out loud! Field curvature produces funny areas on the field that come in or go out of focus, and a lot of M lenses suffer from it, including the vaunted 35mm Summilux-M, as both Lloyd Chambers and Ming Thien have shown.
With increasing resolution, is the design of the M lenses approaching a brick wall?
But #7: Insane economics. The M 240 is $7,000, but for it to be really usable, it needs the EVF ($550, which = 75% of the cost of an NEX-6 camera!), and the grip ($900). In total, $8,450 for the most basic usable system, not counting any sales taxes.
In comparison, the top of the line 24-MP NEX-7 today costs $1000, and comes with a built-in hand-grip and EVF, as well as far better high ISO performance, WiFi, autofocus, and superior video capabilities than the M 240. The next generation of the NEX will likely also have GPS built right into the camera.
And even a full-frame NEX with a whopping 36MP sensor (the same as in the Nikon D800E) will probably cost no more than $2,500, with the option to autofocus as well as a lot of other features not in the M240. That is less than 30% of a usable M240!
But #8: Doomed to a weaker technology road map. Saddled with the RF legacy, the M cameras will always be slower to evolve compared to the rapid pace at which other camera makers have been progressing.
When the 18MP M9 was introduced in 2009, it was the state of the art. Only the Canon 5D MK-II and the Nikon D3x had greater resolution. But the Leica M lenses were superior to most of the Canon and Nikon lenses. The combination made the M9 the best 35mm camera in the world for a short period of time.
But since then, the world has raced past Leica. The Nikon D800E is the king of 35mm now, followed by other cameras like the Canon 5D MK-III, Nikon D7100, Nikon D600, Sony RX1, etc.
Mirrorless EVF cameras have been evolving especially aggressively. They barely existed three years ago, but today, APS-C sensors are almost as good as full-frame sensors, and EVF cameras are going full-frame. The Sony RX1 was the first, and within a year, it seems certain that there will be a number of EVF cameras with full-frame sensors. The prospect of a 36MP NEX-9 is especially appealing.
These cameras will work as universal bodies for any lens, except the Leica and other M-mount lenses that require Leica's special micro lens array. There are many outstanding lenses out there, including Leica-R and Zeiss ZF/ZE/E lenses that these mirrorless EVF cameras can work with.
So within a year, I expect a tidal wave of full-frame EVF cameras to hit the market, most of which will hugely outperform the M240 at a cost of about 30% of the M240. The M240 feels a little behind the times on day one.
The Leica M optics are still the appeal!
So considering everything, it is tough to logically argue the case for the M240. The only thing that keeps the M240 case alive is the optics of the M lenses.
Certain M lenses are very unique, especially the ones that use the Noctilux design (50/0.95, 24/1.4, 21/1.4). The 35/1.4 Summilux with the floating element has a strong and wavy field curvature, but it can also produce an artistic result. Lenses like these are charming for their "Leica look" images, if one knows how to use them.
There are other M lenses that are functionally exceptional, such as the 50/1.4 Summilux, the Super Elmar-M 21/3.4, The 24/2.8 and 28/2.8 Elmarits, the 75/2 and 90/2 APO Summicrons, etc. The latest APO Summicron 50/2 is the best 50mm lens ever designed, with a stunningly flat MTF, although it suffers from a focus shift.
Once you get to know these lenses and how to work them, they are delightful (although I am not a fan of the focusing tab on many of the M lenses). The lenses are the appeal of the M system.
But the elephant in the room is that Leica is not providing a tool to really take advantage of the M lenses. The M8 was a joke, the M8.2 was a hastily put together fix to make the M8 somewhat usable, the M9 was OK, but had too many usability problems, the M9P was a slap in the face to the customers, driven by arrogance ($1,000 for a piece of gorilla glass over a crappy little LCD?), the M9 Mono was another overpriced offering in which Leica did not even bother to put a high-res retina-display monochrome LCD, and now, the M240. Over-priced and under-achieving.
For all the great M optics, Leica has been demanding a very unreasonable toll to access the M lenses by pricing the M cameras absurdly high for what they deliver.
The other question, as mentioned above, is: will increasingly high sensor resolution expose the weaknesses of the M lens design? (field curvature, and especially, focus shift). Lenses designed for the DSLRs or the Sony E-mount do not have focus shift problems.
Bottom line
Two years ago, my left brain and right brain had a huge battle over my M9, and my left brain won. So I sold my M9, and I have not regretted it one bit.
Now, I find myself in the same situation. My right brain says "See how beautiful the camera is! You have such a wonderful collection of fantastic M lenses! No other camera can work with them as well as the M240 can! The APS-C cameras will only give you a crop-size image, and any full-frame EVF camera simply will not work with the M lenses. So it's a no-brainer: keep the M240. I can't believe this is even open to discussion!"
My left brain says "Anyone using an RF today is either brain dead or has a vested interest in Leica. The RF is finished as a camera paradigm. In fact, the entire M system will be obsolete soon. The M240 is an absurdly priced, $8,450 camera full of compromises and almost obsolete on day one. So it is time to not only not keep the M240, but also get rid of all the M lenses! Time to switch to a more competent EVF platform, like a full-frame NEX-9 and use it with Leica-R or Zeiss ZF lenses, which are optically even better than the M lenses. There is no need for a discussion!"
So that is where I am. Usually, when I have these arguments, my left brain wins! So I shall be likely parting ways with the M240, as well. It took me 16 months to get tired of my M9, and it took me a few days to nix the M240.
Leica had a chance to design a brand new EVF-based mirrorless camera to work with all of its wonderful M and R lenses. Such a camera could have been Leica's 35mm digital camera platform for the next 60 years. Instead, Leica once again came up with yet another set of digital extensions to a 60-year old film camera design that demands way too much money and way too many compromises from the user.
That is really unfortunate. I don't want to spend that kind of money for a camera that comes with so many excuses, and gets in my way. The camera is a tool that should serve me. Not royalty that I must serve!
This is still a fabulous camera for those who love the rangefinder. But that is not me.
I will hang on to at least some of my M lenses for a while - there is a hope that Leica will be forced to come out with an non-RF EVF camera with an M mount. Or perhaps there will be some other FF EVF camera that might work with M lenses. So I will wait to see what happens in the FF EVF world before deciding on what to do with my M lenses.
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Above image taken with a Nikon D4 + AI-s Nikkor 28mm f/2.8
D40_4643
Should I really be contemplating a day trip to Norfolk just 24 hours after being laid so low?
I felt I recovered well on Friday, though not hungry still. After getting up and having a coffee, all was set.
I had to catch the ten to six train out of Dover, as I had a cheap ticket. I was going to have something from the buffet, or Pumpkin as its now called.
But was closed.
So, I sat on the station waiting for the train to pull in.
I got on and sat on my favourite side, the carriage was quiet, which suits me. Sadly, at Folkestone West, ten ladies got on and sat in the seats in front clearly on a weekend taking in the bright lights of London. They spent all the journey to Stafford talking about foundation cream and this season's colours.
But who am I to judge?
At Stratford I went up to the concourse then along to the DLY, hopping on a train that was about to depart for the stop to Stratford (Regional).
Where I found I had a fifty (50) minute wait, so went to the Middle Eastern kiosk on the underpass for lamb samosas and a coke.
The overnight rain had cleared, so I took my breakfast to the platform and found a dry seat under the footbridge and spent a fine half hour people and train watching.
As you do.
The train arrived at 08:37, it was three quarters full, but still plenty of seats.
So I took a seat on the right hand so I could watch the suburban stations flash by and then out into the Essex badlands.
No stopping at Chelmsford, onwards to the delights of Colchester and into Suffolk.
Train toilets can now be flushed in stations, so that joy is taken away. Not that I would have, anyway.
Unusually, both Ipswich and Norwich were playing at home on the same day at the same time, as were Colchester. Loads of fans got off at Ipswich, so the quarter full train continued to Stowmarket and Diss.
Then to Norwich.
Norwich is my old stamping ground, a city I know so well, apart from the usual suspects hard to enter churches, there wasn't a lot I could think off to fill in the two hours before opening time.
I looked at Simon's album of roof bosses from the Cathedral cloister, and decided I would photograph those. I didn't have a long enough lens, but what the hell.
Into Norfolk just before arriving in Diss, then through the rolling countryside peppered with sentinel-like church towers. Some close, some distant.
And then we were on the edge of the city, round to the single track bridge and into Thorpe Station, as was.
Back home.
If anywhere feels like home now.
I walked up the once vibrant Prince of Wales road, still with nightclubs and lap dancing bars, but most looking down at heel. The lights and paint not so bright, and the pub after which the road is named, is no more and is a gaming hub. Closed.
Through the Erpingham Gate into the precinct and to the modern entrance. I paid a tenner, and went straight to the cloisters, having declined a map.
I spent nearly an hour photographing and then talking to an American gentleman before a figure came to my shoulder.
It my my friend, Cam, and I was here to meet him and others for beers, chats and laughs.
We shook hands and chatted. I took a few more shots before we went back into the Nave and did one grand loop of the Sanctuary before leaving and getting his cycle.
A five minute walk down Wensum Street, over the bridge and onto Magdalen Street to the Kings Head, five past opening time.
I had a fine cherry-chocolate porter to start, and we met John and Stephen in the rear bar.
Hands shook, update on Simon's journey, and we got down to chit chat.
The pub was lively, with lots of scarf bedecked fans coming in for a pint or two before heading off to the home of football.
At some point, Simon arrived having had to get a rail replacement bus from Diss to Norwich, he was soon catching up.
We left for the Ribs at three, our number already down to the hardcore three, and Cameron left at four to meet with his family.
We took our beers to the decking just over the river surface, and leisured in the warm later afternoon breeze and low sun, it was warm.
Nearly.
I ended up having an argument with the two racist Brexit supports beside me, thankfully they left, leaving Simon and myself to empty our glasses and at five, walk down towards the station.
Norwich had won 4-2 against Stoke, while Ipswich lost 4-1 to local rivals Spurs.
At the Compleat Angler, it was full with happy fans. Simon got a round in, and I sat outside, though with dusk falling it was no longer warm.
We walk across the rad to the station, climbed on board the train waiting, quite full. But we found seats round a table, so spread out and chatted some more.
The train moved out, and into the blackness of the moonless night, illuminated only by the villages and stations on the line.
Simon got out at Norwich, the train continued south. I got a sandwich from the refreshment trolley.
The train entered Essex, speeding towards the capitol.
At Stratford, back on the DLR to the International station where I had a twenty minute wait for my train, which when it arrived was busy, but with seats free.
So, just an hour down to Dover, where Jools was waiting for me to take me home for one last brew before going to bed.
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Norwich has everything. Thus, the normally dry and undemonstrative Nikolaus Pevsner began his survey of the capital of Norfolk in his 1962 volume Buildings of England: Norwich and north-east Norfolk. And there is no doubt that this is one of the best cities of its size in northern Europe. Living in Ipswich as I do, I hear plenty of grumbles about Norwich; but really, although the two places have roughly the same population, Ipswich cannot even begin to compare with regard to its townscape. The only features which the capital of Suffolk can claim to hold above its beautiful northern neighbour are a large central park (Norwich's Chapelfield gardens is not a patch on Ipswich's Christchurch Park) and a large body of water in the heart of the town, perhaps Ipswich's most endearing feature and greatest saving grace.
But Norwich has everything else - to continue Pevsner's eulogy, a cathedral, a castle on a mound right in the middle, walls and towers, a medieval centre with winding streets and alleys, thirty-five medieval parish churches and a river with steamships. It even has hills...
I think it would be possible to visit Norwich and not even know this cathedral was there. The centre of the city is dominated by the castle, and the most familiar feature to visitors is the great market square widened by the clearances of the 1930s, and the fine City Hall built at that time which towers above it. In comparison, Norwich Cathedral sits down in a dip beside the river, walled in by its close, and is visible best from outside the city walls, especially from the east on the riverside, and to the north from Mousehold Heath. If you arrive by road from the south or west, you may not even catch a glimpse of it. The great spire is hidden by those winding streets and alleys, and many of the city's churches are more visible, especially St Giles, St Peter Mancroft in the Market Place, and the vast Catholic Cathedral of St John the Baptist, on Grapes Hill. It is said that the nave floor of St John the Baptist is at the same height above sea level as the top of the crossing of the Anglican cathedral.
With the possible exception of Lincoln Cathedral, I think that Norwich Cathedral is my favourite cathedral in all England. Call this East of England chauvinism if you like, But Norwich Cathedral has everything you could possible want from a great medieval building. But there is more to it than that. It is also one of the most welcoming cathedrals in England. There is no charge for admission, and they positively encourage you to wander around through the daily business of the cathedral, in the continental manner. No boards saying Silence Please - Service in Progress here. Because of this, the Cathedral becomes an act of witness in itself, and you step into what feels like it probably really is the house of God on Earth. They even used to say the Lord's Prayer over the PA system once an hour, and invite you to stop and join in - I wish they'd go back to doing that. The three pounds you pay for a photography permit must be one of the bargains of the century so far.
Norwich Cathedral is unusual, in that this is the original building. It has been augmented over the centuries of course, but this is still essentially the very first cathedral on this site. This is because the see was only moved to Norwich after the Norman invasion. The Normans saw the wisdom of drawing together ecclesiastical and civil power, and one way in which this might be achieved was by siting the cathedrals in the hearts of important towns. At the time of the conquest, Bishop Herfast had his seat at Thetford, and it was decided to move the see to Bury St Edmunds in Suffolk. It had moved several times during the previous four centuries, from Walton in Suffolk to North Elmham in Norfolk before Thetford, where the first proper but simple stone building had been raised. But as well as an eye for efficient administration, the Normans brought the idea that Cathedrals should be glorified; already, vast edifices were being raised in Durham, London and Ely. and Bury St Edmunds, with its famous Abbey, was the obvious place for the Diocese of East Anglia to sit.
However, such a move would have removed the Abbey's independent direct line with Rome, and placed it under the jurisdiction of the Province of Canterbury. The Abbey community was determined that this would not happen, and Abbot Baldwin sent representations to the Pope that ensured the survival of St Edmundsbury Abbey's independence. Bishop Herfast would not be allowed to glorify his position in East Anglia in the way his colleagues were doing elsewhere. But his successor, Herbert de Losinga, was more determined - and, perhaps, steeled by his conscience. A Norman, he had bought the Bishopric from the King in 1091, an act of simony that required penance. Building a great cathedral could be seen as that act of penance. But where? Bury was a lost cause; instead, he chose to move the see to a thriving market town in the north-east of his Diocese; a smaller, more remote place than Bury, to be sure, but proximity to the Abbey of St Edmund was perhaps not such a good thing anyway. It tended to cast a rather heavy shadow. And so it was that the great medieval cathedral of the East Anglian bishops came to be built, instead, at Norwich.
Work began in 1094, and seems to have been complete by 1145. It is one of the great Romanesque buildings of northern Europe, its special character a result of responses to fires and collapses over the course of the next few centuries. At the Reformation in the sixteenth century, it became a protestant cathedral of the new Church of England, losing its role as a setting for ancient sacraments and devotions, but being maintained as the administrative seat of a Diocese which covered all of Norfolk and Suffolk, and the ceremonial church of its great city. In the 19th Century, the western part of the Norwich Diocese was transferred into that of Ely, and at the start of the 20th Century the southern parishes became part of the new Diocese of St Edmundsbury and Ipswich. Today, the Diocese of Norwich consists of north, south and east Norfolk, and the north-eastern tip of Suffolk.
The absence of this great church from the Norfolk Churches site has long been the elephant in the room, so to speak. And having it here at last is, I feel, a mark of how things have changed. When I first started the Norfolk and Suffolk sites back in 1999, I did not have a decent camera, and the earliest entries did not have any photographs at all. How the wheel has turned. Now, the photographs have become the sites, and with no apologies I don't intend to make this a wordy entry.
The perfection of Norwich is of distant views, the cloisters, and the interior. The exterior is hemmed in, and the most familiar part of the building, the west front, is a poor thing, the victim of barbarous restorations in the 18th and 19th centuries. It is almost a surprise to step through its mundanity into the soaring glory of the nave. Above, the famous vaulting is home to one of the largest collections of medieval bosses in the world. There are more in the beautiful cloisters.
The view to the east is of the great organ, looking very 17th Century but actually the work of Stephen Dykes Bower in the 1950s. Beyond is the intimacy of the quire and ambulatory with its radial chapels, the best of which is St Luke's chapel, containing the Despenser retable. Bishop Despenser is one of history's villains, putting down the Peasants Revolt in East Anglia with some enthusiasm. It is likely that this retable was made for the cathedral's high altar, possibly even to give thanks for the end of the Revolt. It was discovered upside down in use as a table in the 1840s. This chapel is, unusually, also a parish church; the parish of St Mary in the Marsh, the church of which was demolished at the Reformation, moved into the cathedral. They brought their seven sacrament font with them, and here it remains.
In the ambulatory there are many traces of medieval paint, almost certainly from the original building of the Cathedral. Two curiosities: at the back of the apse is the original Bishop's chair, and rising across the north side of the ambulatory like a bridge is a relic screen.
There is a good range of glass dating from the 14th to the 21st centuries. Highlights include the medieval panels in the north side of the ambulatory, Edward Burne-Jones's bold figures in the north transept, Moira Forsyth's spectacular Benedictine window of 1964 in a south chapel, and the millennium glass high in the north transept, which I think will in time become one of the defining features of the Cathedral. The figure of the Blessed Virgin with the Christ Child seated on her lap is the work of Norfolk-based artist John Hayward, who died recently, but the glass above is Hayward's reworking of Keith New's 1960s glass for St Stephen Walbrook in London, removed from there in the 1980s, and now reset here. Towards the west end of the nave are two sets of Stuart royal arms in glass, a rare survival.
I grew up in a city some sixty miles away from Norwich, but I didn't come here until I was in my mid-teens. I remember wandering around this building and being blown away by it, and I still get that feeling today. There is always something new to find here. My favourite time here is first thing in the morning on a winter Saturday. Often, I can be the only visitor, which only increases the awe. Another time I like to be here in winter is on a Saturday afternoon for choral evensong. Perhaps best of all, though, is to wander and wonder in the cloisters on a bright sunny day, gazing at fabulous bosses almost within arm's reach.
Several English cathedrals have good closes, but Norwich's is the only one in a major city, I think. It creates the sense of an ecclesiastical village at the heart of the city; and then, beyond, the lanes and alleys spread out, still hanging on despite German bombing and asinine redevelopment. And now I think perhaps it is part of the beauty of this building that it is tucked away by the river, a place to seek out and explore. Norwich has everything, says Pevsner. But really, I think this is the very best thing of all.
www.norfolkchurches.co.uk/norwichcathedral/norwichcathedr...
fr.wikipedia.org/wiki/Giara_(cheval)
en.wikipedia.org/wiki/Giara_horse
Le Giara (sarde : Cuaddeddu de sa Jara) est une race de chevaux rare, qui vit à l'état semi-sauvage sur le plateau de la giara de Gesturi (it), en Sardaigne. Vraisemblablement introduite sur cette île durant l'Antiquité, elle occupe peu à peu une vaste aire de répartition, et s'adapte aux conditions climatiques locales, notamment aux sécheresses estivales, en diminuant de taille sous l'effet de la sélection naturelle. Mis au travail agricole par les habitants sardes, ces petits chevaux risquent l'extinction avec la motorisation de l'agriculture. Des mesures de protection sont mises en place à partir de 1971, aboutissant à la création d'un stud-book.
Le cheval de la Giara présente des crins très fournis, et une robe sombre. Adapté à son environnement rude et sec, il est particulièrement rustique et résistant. La race est désormais surtout un argument touristique pour la Sardaigne. Dans les années 2010, le cheptel est d'environ 500 sujets.
According to Namibian folklore, the zebra was once all white. It was only after getting into an argument with a baboon about a waterhole that the zebra lost his balance, tripped over the monkey’s fire, and ended up with scorch marks from the logs. From then on, zebras have sported stripes. While the truth about these spirited, sturdy wild equines isn’t quite as colorful as that tale, the world of the zebra is not quite black and white. Learn more.